#and then get up to listen to a song and interview?

[airybcby]

♫⋆｡♪ ₊˚♬ﾟ. For You, My Love

( rin itoshi x fem! reader )

♫ a/n — part 2 to my series Stay for Soundcheck! ( masterlist )

♫ word count — 1.1k

♫ content — rin itoshi x fem! reader, lead guitarist! rin, yapper gf x listener bf, established relationship (like 7 years), secret relationship, not proofread

♫ synopsis — The songs. The signed photos. The concerts. The world could have that, you could have the real Rin Itoshi.

↻ ◁ | love is just the same without fortune or fame | ▷ ↺

The world knew Rin Itoshi as the quiet one.

Lead guitarist of Blue Lock. Sharp fingers, sharper eyes. Never smiled for press. Never cracked jokes on stage. 

The kind of man people wrote fanfics about without knowing if he even spoke off-mic. 

Fans obsessed over his mystery. 

Over the way he could make a guitar sob, shred, or sigh — but never said more than three words in interviews.

He was untouchable.

Unknowable.

Until the day you burst through the studio door holding his forgotten lunch.

The band was mid-rehearsal.

Yukimiya was fixing his mic.

Isagi and Reo were bickering about tempo.

Shidou was juggling a soccer ball for no reason.

Kaiser was messing with the mic stands- trying to get them to the “perfect” height.

Rin, of course, sat on the floor, legs crossed, guitar balanced against his thigh, expression unreadable as always. His fingers moved like he didn’t need to think. 

Like he’d been born doing this.

Then a soft knock came from the door.

He stood without a word. Everyone barely noticed.

And then—

“Rinnieee~!”

Your voice, bright as a melody, filled the room just as you threw yourself into his arms.

You kissed his cheek, handed him a lunchbox, and chirped, “You forgot this on the counter again. Seriously, are you eating at all?”

Then you turned your head.

Five pairs of shocked eyes blinked back at you.

“Oh,” you whispered, smiling sheepishly. “I thought you were alone.”

Rin’s arm stayed firmly around your waist. He didn’t flinch.

Shidou stood up like he’d seen a ghost. “WAIT. YOU HAVE A GIRLFRIEND?!”

Isagi dropped his pick. “Since when?!”

“Since we were fifteen,” you said with a bashful little wave. “Hi! Sorry for crashing your very serious rehearsal. I just bring him food and love. Please don’t kick me out.”

Rin’s only response was to tug you closer. His lips grazed your temple, but he said nothing — because that was Rin.

Letting the world see you was enough.

You remember your first date vividly.

You planned everything.

A picnic in the park. Your mom’s pasta salad (that Rin definitely wouldn’t eat). A blanket, two sparkling drinks, a speaker playing that slightly embarrassing playlist of love songs. 

Rin showed up in a hoodie and combat boots, looking like a stormcloud. But he sat down anyway, thigh brushing yours.

You were mid-sentence about the way clouds looked like lyrics when the sky cracked open and it started pouring.

Absolutely dumping rain.

You squealed, scrambling to fold the blanket, covering the food. Rin just blinked at the sky like he could out-glare it.

He ended up walking you to his house — yours was too far, and you were too soaked.

His room was simple. Neat. 

Low bed, plain desk, guitar tucked neatly into a stand. 

You were shivering in your damp clothes when he dug into a bed-side drawer, muttering something about you just grabbing a spare shirt.

You held up a hand fast. “Okay, full disclosure? I don’t do anything on the first date, so if you’re, like, looking for a condom—”

Rin turned, holding up a guitar pick.

“Ew. No.”

His tone was so deadpan it almost hurt. 

Almost.

You fell back onto his bed, laughing so hard you snorted.

“I’ve never been so insulted and flattered in one breath,” you wheezed.

He rolled his eyes. “You’re soaked. Don’t ruin my bed.”

“I deserve entertainment.”

He glanced at you.

You pointed at the guitar. “Play me something.”

He hesitated — then picked it up. Tuned a few strings.

And started playing.

No lyrics. Just gentle chords, tender and unsure, like he was showing you a part of himself no one else had touched.

You watched him like he was magic.

When he finished, you asked, “Is that the one that’ll make you famous?”

He said, “No.”

You asked, “Why not?”

He didn’t answer.

But years later, that was the same melody he played for you on stage. The one the world fell in love with — and he only ever played for you.

That evening at the studio, you sat on the rooftop while the sun sank behind the city skyline. 

Rin was beside you, sipping a drink you’d brought him — his hoodie still faintly damp from rehearsal sweat.

You finally asked what you’d always wondered.

“Why don’t you talk about me?”

Rin didn’t look at you. Just stared at the city below.

“I didn’t want to share you,” he said simply. 

“I didn’t want the media getting to you. The speculation. The hate. You’re mine. I wanted you to stay mine.”

Your chest ached — not in pain, but in love. Deep, endless, throat-tight love.

“Rin,” you whispered, bumping his shoulder. “I’d live in a bunker with you if I had to. But if you ever want to tell them… I won’t be mad.”

He finally looked at you.

“I’d be proud if you did,” you added, quieter now.

The last concert of the tour was a sold-out stadium.

Thousands of people. The kind of crowd that swallowed the sound of your own breathing. 

You stood off-stage, Rin’s jacket slung over your shoulders, watching as the stage lights painted him in gold and fire.

He barely looked at the crowd. He never did. 

But he kept glancing your way — tiny flickers, like he had to check you were still real.

Then: the final song. Rin’s solo.

He stepped up to the mic.

The crowd screamed.

He held the guitar like it was a second spine — steady, beautiful.

Then he spoke.

“This next part…” he said into the quiet, “is for someone I’ve loved since I was fifteen.”

The crowd hushed. Like the world itself was holding its breath.

“She stayed behind the lights. Not because I asked her to. But because she believed in me.”

He looked to the side. At you.

“For you, my love.”

Then he played.

The melody — the same one from your first date — rang out across the stadium. His voice, raw and low, trembled slightly on the high notes. No one breathed. No one moved.

And when the set ended?

He walked straight to you.

Dropped his guitar into Yukimiya’s hands, tugged out his in-ear monitors, and kissed you like it was the only thing he’d ever wanted to do. 

Soft. Deep. Sure.

You heard the crowd scream — but it felt like silence between his lips.

When you pulled back, breathless, he looked at you the way he always had. 

Like no one else had ever existed.

You whispered, “So. You told them.”

He kissed your temple.

“I’m never hiding you again.”

Let the world scream his name.

Let them beg for more songs, more mystery, more answers.

They could have all of it.

But you were the only one Rin Itoshi would ever play for.

hehe! if yall can't tell i love a good rin with yapper gf

likes, comments, and reblogs are appreciated!

⋆.˚✮ 2025 ©airybcby ✮˚.⋆

[womanofwords]

Descriptions under the cut!

Workout Buddy: After years of being bullied at school and by Damian, you stumble into a seedy gym hoping you could find somewhere to hide. Instead, you met Bane, who saw promise in you. When your siblings notice that you've become stronger, they tail you to see who's responsible, only to find you being fed protein powder by Bane, one of their most formidable foes. It's going to take a lot out of you to be able to hold on to your new workout buddy, so it's a good thing you've been focusing on your arms.

Audience Participation: reader has the ability to break the fourth wall and communicate with the readers, who spill all the secrets of the manor and help her escape from the increasing concerning yandere tendencies of the Wayne family. Will require actual audience participation (comments and reblogs), so tell a friend to tell a friend.

The Missing Component: You left the manor quietly years ago when you turned eighteen and got a scholarship to MIT. But when an interview of yours went viral, your family went looking for you in and out of costume. The Wayne family (not that you'd know it) is losing their minds. You were gone for ages, and you show up without the Wayne surname, with an entire business, and publicly following a different religion. Your absence is the reason why the manor felt so cold. You were the missing component.

But in order to reach this missing component, they have to battle through a sea of paparazzi, your new friends, disgusted high society, and your very protective robot children. You would be very difficult to get to, but no matter. You were totally worth the effort.

Back Of My Mind: You'd been going about your business when that frisbee hit you. When you woke up, these strange people were around your bed. They told you horrible things like how your mommy was dead and how they were your family, but you weren't buying it. If they were your family, why didn't they look like you? Why did you get sick when you saw them? Why didn't they have any answers for what you used to be like? It was a good thing that your auntie and uncle were always there to look after you and comfort you when they got crazy.

Velvet Voice: Although your family didn't listen to you, you always had an escape with your music. A weird thing about your voice was that people were drawn to it, no matter how softly you sang or what song you chose. If you loved something in song, anyone who heard you would follow suit. And if you suggested something in your music, people would actually do it. It dawned on you that you had a platform like no other to finally be heard.

Time to expose the Waynes one track at a time.

[kawaiigirly21]

Our Little Soda Pop: Chapter 10

The night of the show, Natasha held onto Romance as she tried to steady herself on the stairs leading to the stage. “Are you alright? We can turn back around and I can take you home.” He whispered with a concerned expression on his face. He already wasn't fond of doing an interview so suddenly and he definitely hated that Natasha had to come along. Especially when it looked like her nausea was coming back.

“I'm fine love… I'll just hold onto you for the night.” She smiled as they reached the stage and he helped her into her seat. The others watched closely to make sure she was comfortable before turning their attention to the interviewers. “So! Saja boys! Tell me, your recent album has reached the top of the charts! Right next to Huntrix! Please, tell us what inspired those songs?” As the night went on, the interview continued with normal questions and a few stories here and there.

Until the interviewers switched. And with how hard Natasha gripped his hand, Romance sensed there was a problem with him. “Hello Natasha! It's been a while right? You know, I really must thank you. Those bathhouse Polaroids really boosted my career.” Feeling rage boil in his veins, Mystery growled deeply. “You look pretty… for your age. Which is what? 60? What are you doing with these boys huh? Couldn't find a man who would ever love a whore like you?”

The former photographer smirked as Natasha had to yank Jinu back into his seat before he launched himself at the man. “Not here Jinu. Calm down.” She scolded lightly. “You give out orders too? How interesting. Tell me, rumors are going around that you're pregnant or just fat, which is it?” Natasha sighed. “I'm pregnant.” She replied tiredly. She was so over it. “And the father? Is it Abby? His actions the other day in your defense point to this theory. But I mean, how fucked up do you have to be to sleep with someone who's young enough to be your son?”

Before Natasha could answer, Abby responded first. “Listen here you piece of shit! You don't fucking talk to her like that. If you dare to make another comment like that, I'll get up from this seat and shove that microphone down your fucking throat.” The cheers from the audience watching supported the man in his anger. “Y-you can't threaten me on live TV!” The man stuttered. “Who says? We’ll beat your ass right here on this stage. Try us.” Baby smirked, leaning back in his chair while Romance cracked his knuckles.

“Give us a reason. Please do it.” He smirked. By the time the interview ended, it gave the Saja Fandom a brand new outlook on the group. The group weren't just some popular good looking boys who could sing. They were protective, thoughtful, loving and brave. They stood on business and spoke their minds. They didn't mince their words for those that angered them. Especially towards bullshit interviewers who hurt their mate in the past.

The fandom also adopted the theory of one of the boys being the father to Natasha's baby. “Ugh my everything is sore!” She whined now 7 months into her pregnancy and felt like a bowling ball was sitting right on her uterus. She wanted to call one of the boys but they were (reluctantly) out of town for a few days and she didn't want to bother them. Suddenly, she felt a comfortable weight on her tummy and a loud purring noise filled her ears.

Looking down at her stomach, her eyes widened to find a big blue derpy looking tiger staring right back at her with its head on her tummy. “Um… hi? Where'd you come from fur ball?” She smiled softly. Reaching down to pet its head. “Oh my gosh you're so soft.” She giggled then yawned. Laying back into her bed, the tiger got comfortable and continued to purr while laying its head on her pregnant tummy. The soreness Natasha was complaining about seemed to disappear completely in favor of complete and utter comfort.

Meanwhile, the boys had just gotten off of stage after doing an encore of one of their newest hits. “I could sleep for a week…” Abby yawned as he nearly fell on the floor instead of the couch in their dressing room. “I can't wait to go home and cuddle with Natasha. I miss her scent.” Mystery replied as he shrugged off his shirt and sweater vest to let his chest breathe. “Same. You think she's ok? I mean, I know she's alright but still.” Romance asked while he peeled off his sweat soaked silk shirt.

“I sent my tiger to her to watch over her while we're gone. So even if she doesn't really need help, she has back up.” Jinu responded looking in the mirror with an exhausted expression. “How many more shows to go boss man?” Baby asked. Looking at his schedule on his phone, Jinu groaned. “You're gonna hate me for this… 12.” A collective groan spread throughout the group after hearing his words. “Son of a bitch!”

[binmeister]

Can I request more hcs with the producer reader(KPDH) they are by far my favorite

(Preferably gn pronouns)

Producer AU Headcanons (contd.)

I CAN COME HOME! IM FINALLY BACK HOME IN PRODUCER AU YAYYY

in general i try to keep my stuff relatively gender neutral unless explicitly mentioned otherwise so ill keep at it in this blurb as well

Some rambling down below, not as much as last time but just a few off the top of my head - im so sorry its a lil nonsensical

CW: not proofread, headcanons and general blabbering - less formatted than the last batch of headcanons

Mentioned previously was that they’re wary of you when you’re in crunch mode, locked away in the studio at the office only to work overtime at home.

Ive got a scenario in my head of Jinu working with you in the studio, he’s quiet as he lets you do your work and then suddenly he hears sniffling and your shoulders are shaking and you’re breaking down in frustration because it just didnt sound right

He tries to talk to you, tries to tell you its okay to take a break but youre stressed that the deadline is approaching and the song still doesn’t sound right - the track didnt have enough harmonies, something went wrong with the tuning, the mix was off, just complaints as you beat yourself up over how done and burnt out over this track you were

Then he realises youre just tired and burnt out and lets you vent, lets you shrink in on yourself because you didnt want comfort you just wanted to let it out so he just shifts his chair nearby and lets you have your breakdown instead of trying to fix it

By the time youre done youre tired again, but honestly youve already forgotten what you were crying about as you play the track again after your emotional outburst and you hum the melody to yourself

He softly suggests maybe you can take a quick nap on the couch at the studio and he’ll try to record some harmonies on his phone for you to sample and you nod, too tired to fight back and let him guide you to lay down on the couch and you just knock out for a while - he’s laid his jacket over you to keep you warm and he listens to the song youre working on with your studio headphones on his head as he records voice memos for potential adlibs and harmonies you could add

I think generally speaking the relationship dynamics between you and the idols was actually more professional for a while

Like the guys are flirty because its part of their ‘boyfriend experience’ package and marketing, but theyre actually respectful of you when you mean business and clean up their acts when you ask them politely to focus up because you did not want to waste time sifting through unusable audio for no reason

The huntrix girls and you were actually pretty awkward and distant when you first worked together, up and coming in the industry meant you were competitors more than potential co workers and then eventual friends bc your company wanted you to top the charts for money and the girls were topping the charts to save the world technically

Overtime you progressively get on friendlier terms with them because as you collaborate more - you spend more time together creatively speaking and then youre not just doing scheduled meetings, starting to casually go grab a coffee or going to get lunch with them - slow burn but i like it cause i feel thats how it normally starts based off of artist interviews

When you’re giving critic or guidance theyre all glued to whatever you have to say to them, trying to be more analytical of their performance when they record and making sure they actually understand and take into account any feedback you give - which is the same for you when any of them mention that they can’t push that note youre after and you make adjustments so that they’re able to hit a different note in a similar key

I think at some point Abby starts asking if he can show you some rap that he’s written, you and Baby look over it and then you ask if you can talk to Zoey about it he has no issues at all so at some point theres a demo reel with all three rapping - though Zoey was never able to attend a group session you had sent her the demo and she was so happy she pinned it on her desktop (thinking smth like Young Posse doing a track with other rappers or even Giselle and NCTs Zoo)

In regards to work ethic or work in general

You’re a chronic over worker, creating was a passion turned career and you constantly needed to out do yourself (in your head) always being your biggest hater when a song doesnt sound right or when lyrics you write sound like trash - co producer Lance always telling you to go touch grass so you can get new inspo and you hiss at him like a deranged cat

You work based on deadlines and inspiration - if an idea or a tune sounds just right youre rushing off to go record something or mess with samples, your phone is full of random sounds and recordings you grab when you go somewhere and theres a melody that itches your ear just right

After working with both groups I hc that at one point you take a multi-month hiatus, not by choice on your end but everyone (the guys, girls, your manager, your co producers, even the higher ups in your company) agree that you need to take a proper break and not work on any commissioned projects for a while, aside from your personal ones

You come up with one of your personal favourite songs during that break and the fans are also appreciative of it because theres emotion and joy in each beat and melody, theres a lot of sillier audio samples thrown in there from your collection of voice memos but its the most “you” a song has been in a few years

I think you have a folder filled to the brim with audio samples from all of them, adlibs, highnotes, random one line raps, so many that its actually become part of your produce tag to randomly insert an audio snippet of someone from either group - when asked about it on a phone interview (live radio phone call) you’d admitted that its become a fun easter egg for you and you enjoyed when fans had tagged you on social media when they found it

Romantically speaking..

You dont canonically end up dating anyone, its just a lot of unofficial dates and soft moments - you dont really have time to date and you dont want to ruin anyone’s career because of a dating scandal

Producers can date and do whatever they want, especially ones that dont have a known face to the public, but idols? Its a tough world out there still even if its super in the future and people are supporting Boy x Girl groups which has never happened before - though there are some multi stans who would die on the hill that youre secretly dating someone from either group

That doesnt stop any of them from unofficially asking you out on dates, when you try and tell them that its not a good idea they switch up their wording so it sounds like a friendly outting or just some good friends getting a bite to eat and you cave - honestly think Jinu is actually the most guilty of doing this bc he always asks you take a late night walk with him. Bc youre friends. And he cared about your mental health, as a friend. (Loser biased)

[myveryownfanfiction]

18+ MINORS AND THOSE WITHOUT AGE IN BIO DNI tags: @iobsessoverfictionalmen, @illiana-mystery

AN: Inspiration taken from this post from @loversrocktvgirl2 and @hurtspideyparker Hope you don't mind but it gave me an idea I couldn't shake.

warnings: swearing, mention of violence

"So I heard you like My Chemical Romance." I said, leaning against the door to Bucky's room. He looked up at me, face guarded but eyes curious.

"What's it to you?" He asked. His hand inched towards his phone where his headphones were connected. "Got a problem with it?"

"No." I shrugged. "Just thought you'd like to expand the palette." I smirked as he looked from his phone to me.

"What's that mean?" Bucky asked. I smiled as I entered the room and kicked the door shut.

"I'm glad you asked." I said as I held my hand out for his phone. Bucky handed it over reluctantly. "They're not as emo as My Chem but..." I typed away at the screen. "By the way you really should put a password on here. Anyone can get into it otherwise." Bucky rolled his eyes as he moved over on his bed. I sat down and passed him an earbud. "Give this a listen." Bucky hesitantly put it in his ear before scrunching up his face.

"What the fuck is this?" He asked. I smiled because the earbud was still firmly placed in his ear.

"American Idiot by Green Day." I shrugged. "Punk rock. Rebel against authorities, the assholes and whatnot." Bucky stared at me a beat.

"This explains why you are the way you are so well." He said. I laughed and shrugged.

"What? The punching Nazis in the face and spitting on Valentina?" I asked. "That should just be common decency. Hell I would expect you to get the whole thing. Being from literal World War II." Bucky nodded slowly as the next song started playing. "I'm the song of rage and love..." I sang quietly, watching as Bucky's face relaxed. We sat in silence as the rest of the song played. Bucky pulled the earbuds out of the headphone jack and leaned back against his headboard as the song kept playing.

"I like that one." He murmured as he closed his eyes. I smiled softly as I looked at him. "Somehow remind me of...deconditioning." I gently patted his leg. Bucky opened his eyes and looked at me. Jerking his head, he patted the space next to him. I crawled up his bed and sat next to him. My head ended up on his shoulder as I put his phone on my leg. Bucky leaned his head against mine. "They do swear a lot." I started laughing.

"Newsflash Buck. So do you." I teased, tilting my head to look at him. Bucky shrugged.

“I was a fucking soldier. I kind of have an excuse.” I rolled my eyes as the album kept playing. “What’s their excuse?”

“probably the way they grew up.” I said. “If you really like them, I can show you some interviews. Like you, they have their own stories to tell.” Bucky nodded.

“I’d like that.” He said. The album came to a close and Bucky handed me his phone. “They got any more stuff?”

“oh yeah.” I laughed. “They’ve got a lot.” I typed in another album and pressed play. “I do hope you know we’re going in order of my favorites and not like release.” Bucky laughed.

“oh I’m well aware.” He said, reaching for my hand and squeezing. “Thank you. For sharing this with me.” I nodded at him with a smile.

“of course.” I said. “Bob may have told me about the whole my chem thing. And how much you liked them. He was really proud of himself afterwards. For like weeks. It was his own personal high. So when he mentioned it…”

“You’re gonna tell him about this so he knows he can share more.” Bucky said. I nodded.

“it’s not just me sharing a small piece of me with you. It’s giving bob permission to give us little pieces of him. Become part of the team. Properly. And not like just our chore manager or something. Fucking glorified housekeeper.” Bucky tilted his head to press a kiss to my temple.

“Look at you. Plotting on the shadows.” He teased.

“shut up asshole.” I laughed gently shoving him. Bucky laughed as we settled into silence, enjoying the rest of the album.

[sophaeros]

the strokes for crossbeat, november 2003

THE STROKES

Finally, the new work is complete! All members interviewed

Where should we go? That's what comes across in this album. It means we're getting closer to our goal

The day when "Room On Fire," born from the friendship of five people, will take the world by storm is coming soon ── The Strokes, who continue to "roll" with overflowing originality, reveal their latest feelings!

Interview: Shoho Koguchi / Interpreter: Izumi Kurihara

All pix by Yoshie Tominaga

Things have been going on since the news of their new album last month. The Strokes have finally completed their second album. The title is "Room on Fire". As previously reported, the album contains 11 songs, and the long-awaited Japanese release date is set for October 22nd.

I waited until the deadline to hear the album, but I was unable to listen to it. Based on the impressions from the listening session held about a month ago, "Room on Fire" is unmistakably The Strokes' mark. The minimalist ensemble that was prominent in the first album remains as the basic axis, but it also has the physical strength and experience acquired through long tours. It feels like it has been built up secretly while keeping the same carefree atmosphere. Right now, there's only one single "12:51," but the guitar that leads the whole thing like a keyboard is very memorable. There are many songs that show the charm of a rock band to the fullest, such as the aggressive and dramatic "Reptilia" and "What Ever Happened?", where you can enjoy Julian's shouts.

We want to be better than we are now and give everyone something that they can call "one and only"... but we've never thought of ourselves as something special.

And — and this is the most important thing — these five guys have overwhelming originality. Since the debut of The Strokes in 2001, the phenomenon of numerous rock and roll/garage bands gaining worldwide attention has been talked about everywhere, but these guys already contain the "unmatched core" of pioneers. They are simply pursuing a simple sound, yet they have such an absolute presence that they have given birth to bands that follow them without even realizing it. It's similar to the fact that The Ramones have always been The Ramones. Their strength, unfazed by their surroundings, is a unique strength.

──I had the chance to listen to your new work yesterday. The songs have become even more compact, and the performance is tighter and more compact.

Julian Casablancas (Vo: J): ...Is that a good thing? (laughs)

──Of course.

All 3: That's great (laughs).

J: Oh, by the way, thank you so much for putting me on the cover.

Nick Valensi (G: N) & Nikolai Fraiture (B: NI): Thank you very much.

──You're welcome (laughs). What do you think about the album?

J: I like it... well, I really like it. I was working on it right before I came to Japan, and there are still a few parts I want to change. I'm still talking to Gordon (Raphael: producer) about it... so I don't think it's finished yet. Also, there are two songs you guys haven't heard yet. If I add different flavors to it, the overall impression will be different.

N: But even though it's not finished yet, it's still something we're very proud of. I say that for everyone because we worked really hard on it. It's a clear representation of who The Strokes are now.

──The Strokes are truly one and only. Every sound the five of you make is overflowing with originality, and you’re unlike anything else.

J: Thank you. That's nice.

──When you were making it, did you also feel a strong sense of accomplishment?

J: Ummm... (laughs)

N: Haha (laugh)

J: I've never thought of it that way. I do have the feeling that I want to be better than I am now, and that's something I'm always thinking about. I wish I could give everyone something that they can call "one and only"... But I've never thought of ourselves as something special.

──The shout in "What Ever Happened?" was very powerful. You also raised your voice at key moments in other songs.

N&NI: Ahahaha!! (laughs)

──There's shouting and singing,

N: But no rap (laughs)

──Hahaha, that's true, no rap (laughs). Julian, in terms of vocalization, were you actively looking to bring out a side of yourself that you hadn't shown before?

J: Hmm... that's a good question... I definitely wanted to do something different with each song. That's different from when we made our first album. I wasn't thinking about that at all with our first album, it was just a feeling as the songs were being completed. I think "Meet Me In The Bathroom" is a song that feels close to the first album (it was performed at their first visit to Japan in 2002). That song was the first one we made for this album. The last song on it... you haven't heard it yet... it has a very restrained feel to it. Consciously. When you listen to that song, I think each one sounds even more distinct. Well, you could say it's the result of the natural development of each sound. It's true that with our first album we weren't thinking about that kind of thing. Is that the answer? But it was something like that, wasn't it? (asking for agreement from both of them)

──The guitar sound is really elaborate. I heard from Albert (G) yesterday that Nick was the main cause of this.

N: Yes, I agree. In terms of tone, I would say this album has a lot of variety. But not only that, in terms of songwriting, I think the guitar melody is stronger this time than before. On the last album, one person played rhythm and chords, and the other played lead, but this time, Albert and I both play melodies and counter melodies at the same time. In that sense, I think it's more refined than before.

── I think the live feel has increased a lot compared to the first album. How much attention did you pay to "performing live"?

J: No, I wasn't trying to make it sound like a live performance. I wanted to keep the same vibe. For the first album I used a computer, but for this album I used a mixing board and recorded in a so-called studio environment. Of course the first album was also recorded in a so-called studio environment... Maybe it feels that way because I didn't use any computer plug-ins (laughs)... Probably... This time I was conscious of making it sound more natural, so I think that's why it gives off that impression. How can I put it... There's not much distortion...

── Rather, I get the impression that the five of you have become more united and powerful.

N: Yes, I think we've grown as a band, or rather, we've become more involved as a band while working on this album. Thinking back to when we made our first album two years ago, I think that's true. At the same time, our knowledge of the studio has also increased, so we've come to understand the process of working in the studio, the kind of sound we want to record, and how to achieve that. So...

J: When you start wanting to do this and that, it can get messy, but it's a strength that we've come to understand how to do that. With this album, we can see where we should head. In other words... I think we've gotten closer to our goal. Just kidding, it's the complete opposite (laughs).

── A second album is a big hurdle for any musician, especially in your case, since your first album was so well-received and you've been getting attention from all over the world.

All three: (wry laugh)

──Did you feel any pressure while making this?

J: Pressure? (bitter laugh)

NI: What? (laughs)

N: Pressure, you say (laughs).

J: Haha, rather than from outside, I felt pressure coming from within myself... maybe. It was more like internal pressure (laughs). I was a little worried about whether we could make something good, but then, when we released our first album, a lot of people ended up saying 'it's good'... so I'm really happy... hmm... I don't know? Well, the album hasn't come out yet, so it's hard to really grasp it. It's hard to put it into words... I mean, it's kind of silly to say 'it's great!' before it's even out. But I think it turned out well, and I'm happy. I'm sure everyone in the band feels the same way. That's the most important thing. And I'd be happy if other people felt the same way."

When did you start writing songs?

J: Hmm... I guess I was about 15 years old.

──Huh?

NI: No, aren't you talking about the second album?

──Yes, from the second album (laughs).

N: Then the answer would be '10 years ago' (laughs).

J: That’s right (laughs). Umm… right after we finished making our first album (laughs). “Meet Me In The Bathroom” was the first one…

──What was the songwriting process like? Fab (drums) and Albert said that Julian would bring in songs and the band would work on them, but are you someone who can write songs pretty easily? Or do you spend a lot of time on each song?

J: Well, depending on the song, there are some that are completed quickly, and some that are only half-finished when I bring them to the band. Sometimes, when I bring a song to the band without making much progress, it is completed surprisingly quickly. That's when a good idea comes out of nowhere. But on the other hand, sometimes it doesn't come together and it becomes a mess. I try out different things over and over again, tinker with different parts, and then when I tinker with them, this and that don't go together, stuff like that. Those kind of songs get the nickname "nightmare". They really are a "nightmare" because they never end (laughs). There are songs that aren't finished even after three months. Some songs can be completed in two days. They can be finished the day after I bring them to the band.

Radiohead always goes through extreme changes and it's not what I want. I think evolution is something that happens very slowly and gently. I don't think it matters how much time it takes.

N: We're not the kind of band that can finish a song in five minutes, but we're also not the kind of band that can spend forever on a song. I'm sure there are people who think it's good to create songs quickly, but being prolific isn't necessarily a good thing. Because when you're prolific, there are bound to be some bad songs mixed in

J: But "Supernova" (retitled "12:51") was written in one night and two seconds. The next day, we went back to the studio and played it a little and it sounded good.

N: Yes. Julian wrote it in 2 seconds, played it for us, and played it the next day and it was perfect. There was no need to edit it any more.

J: Yeah. I tweaked it a little and it was enough. For some songs, I even tried out different harmony parts after about three months.

So, what are the lyrics of your new song about?

J: The theme is different for each song... How can I put it, I think adding additional explanations might make it harder to understand... Well, maybe in another 55 years I'll be able to explain what I was feeling when I wrote it, and it might be interesting to talk about that... but for now I'd like to leave it up to the listeners to decide. That's all I can say... I'm getting sleepy... Just kidding (smile)

──Please hang in there (laughs). Are you the type who puts a message into your lyrics? Or are you the type who just writes down whatever comes to mind?

J: Well, it depends on the song. I guess that's how it is, isn't it? Of course there are things I want to say, and there are songs that convey those things.

──As Nick said earlier, the new album reflects the band's growth in many ways, but in what area do you think you've grown the most compared to the first album?

J: Mentally, I’ve regressed to childhood (laughs).

N&NI: Haha (laughs)

J: Hmmm... I don’t know... I think we'll be able to answer that in about five years (laughs). We may have gained something from the first album and grown, and were able to reflect that in the second album, but for us who are in the middle of that, we don't really know what that is.

──I understand. Julian answered in an interview with this magazine that he wanted to "create something that evolved." What do you think of as "musical evolution"? Something drastic like Radiohead? Or do you mean strengthening the unity of the band?

J: For me it's not that kind of extreme change... I think evolution is something that progresses very slowly and gently. If it leads to a change for the better, I don't think it matters how much time it takes. As long as it gets better. And I think it should happen naturally, not intentionally. I know it sounds a bit fishy to say it like that (laughs), but that's what I think. ...How should I put it... I think Radiohead always undergoes very extreme changes, but it's not that I want it to, it's not that it's bad... I guess if you keep doing a lot of different things... you end up here before you know it... but I don't really know what I'm saying. Someone stop me (laughs).

── (laughs) Radiohead are staying here too, have you met them?

J: Oh, are they here too?

N: They're staying in my room (laughs).

──Ah, right (laughs). Everyone?

N: Yes, all five of us (laughs). There are six of us including me. All six of us are together.

──How many beds are there? (laughs)

N: Just one. But well, we’re managing.

──Do you decide who gets to stay in bed by playing rock-paper-scissors? (laughs)

N: No, we discussed it (laughs). I even put the drum sticks in the bathtub (laughs).

J&NI: Hahaha...

──Well, that's beside the point (laughs), but people have been saying rock is dead countless times now, for decades now.

J: That's been said since the 50s (laughs).

Other people are the ones who say "Rock is dead.” I guess that's what you say when you see music that you can't imitate. When guitar, keyboard, bass and drums come together, I think it's something that will continue to expand.

──(laughs) But even though we're in 2003, the band sound hasn't died yet. How much potential do you guys have for a "band"? Are you confident that you can still produce as many interesting and exciting sounds as you want with just guitar, bass, drums, and vocals?

J: I think there are always people who come up with new ways of doing things. I think people who say 'Rock is dead' say that when they see music that brings great ideas to fruition, music that no one else can imitate. I don't particularly want to imitate them, but even if I played like Led Zeppelin and someone said 'They're already dead, it's just a copy'... I think there are a lot of things that can be done with the instruments in it, like guitars, keyboards, bass, drums, and I think a lot of things are happening. I think that when those instruments come together, something can spread. However, there are probably some people who don't think that what's being developed there is new, or don't notice it. That's all I can say.

──I'd like to ask, what are your ambitions as a band?

J: ... (long silence). Ahh... to stay together with all these members forever.

──……Is that all?

J: Yeah (laughs). Because it's a very important thing.

──So, let me ask it another way. Do you want your second album to sell better than your first?

J: I want it to sell like hotcakes (laughs)... Just kidding (laughs). I don’t know.

N: Tell that to him (pointing at the person in charge at the Japanese record company). That's his job (laughs). But you know, all we want is for people to like it. We make something that we can confidently say is a good work, and send it out into the world. That's enough meaning. With that alone, there's no need to think about anything else. That goes for the creative process and everything else.

J: Even if I try to make everything go my way, it's not something I can control myself. It's not something that has a direct connection to the music itself.

──Is there any particular band that the Strokes are aiming to be like?

J: Yes.

──Who?

J: Maybe Mel Gibson (laughs).

──Really?

N: It's not like it's anyone in particular or anything.

J: There are a lot of musical idols out there.

N: If I had to say, it would be all the music that we've been listening to since we were kids and that has influenced us. Listening to that kind of cool music makes us want to play cool music too. So it's not like we want to be Iggy Pop or Keith Richards or anything like that.

J: What about Nikolai Fraiture (the bassist Nikolai, of course)? (laughs)

N: You want to be like Nikolai Fraiture? (laughs)

J: It might be a little funny (laughs).

N : Yes, we look up to each other.

NI: I wonder if this wraps things up nicely (laughs)

── (laughs). But the Strokes themselves have become a model for subsequent bands, haven't they? I think you guys created a trend, to the point that people say "after the Strokes."

J: Oh, really? (laughs). Then I have to live a long life (laughs). That's... weird, isn't it? Of course, we have a message and there are people who have received it. But... how can I put it (laughs), there is a much longer road ahead of us (laughs).

──Since you guys came out, many bands that play primitive rock and roll have appeared. Do you feel that you are a turning point band in rock history, that you opened the door to a new music scene?

J: Hmm... I don't know... But I don't think that there are a lot of bands that wouldn't have been successful without us. There's no way to confirm whether that's true or not. I'm sure those bands would have been successful without us.

N: But don't you ever think you'd like to say something like that? (laughs)

J: Okay, I was just kidding (laughs). How’s that? (laughs)

NI: I mean...

J: I don’t know. Of course, it's easy to say, 'Listen to the music we make! It's great!' but that's not what I'm thinking about. I want to reach a certain level. And I don't think we've reached that level yet. We have our own ideas about what we're doing. If we end up being successful, that's great too. But becoming super popular or getting into the top 10 charts, that kind of world is like an alien world to me. So... I don't think we've made any big changes at this stage. We've only just started. At least, that's what I think.

Before being band members, they are all friends who can be trusted. I think that atmosphere is conveyed from the above conversation. Julian himself said that he has an ambition to "continue with these members forever," and there is not a single cloud in that. I was impressed by Julian, who seemed reluctant, but spoke passionately about his enthusiasm in his own way. They are a group of musicians with their feet on the ground more than I had expected.

From here on, we will continue with the pairing of Albert (G) and Fab (Dr), who continue from last month. We decided to ask them a variety of topics, including the relationship between the Strokes and the band, as they actively play the role of "diplomats" within the band.

──First of all, what was the vision that the members shared when approaching this new work?

Albert Hammond Jr. (G: A): I want to make each song better, and I want to complete it in the best way possible for that song, and I want each song to have its own personality.

Fabrizio Moretti (Drums: F): After the recording, I spoke with Julian, and it seemed like he had a very specific vision for each song. With the first album, I didn't realize it at all as we were arranging and recording, but he had an unspoken vision. Once the recording progressed to a certain stage, that vision became clearer. It was about what kind of songs they should turn out to be.

Ichiro once said, "If I were a chef, I would have to take good care of my knives, otherwise they would rust. Then I wouldn't be able to cook." I practice at home every day, holding my sticks. That's the way to become a good musician.

──So, all the songs are about three minutes long. Were you determined to stick to this length?

F: There was a part I was trying to develop in each song, and it was complete when it was enough. So I wasn't worried about the time at all. It wasn't like, 'Oh, if I extend it any more it will exceed three minutes! Let's end it here' (laughs). So I guess I just brought out the part that the song needed. If I just added 'more, more!' I think it would become boring.

A: Yes, that's true. I think that in order to develop a song, you should look at the internal aspects of the song itself rather than the external aspects and develop it accordingly. You shouldn't force the song. If the song needed 9 minutes, I think I would have made it 9 minutes long. I wouldn't have shortened it to 3 minutes. And none of the songs feel short to me.

F: Yes, I don't think they're short either. There's always an interesting part or aspect to each song. It's not like, 'Oh, so that's how it goes around here. That's right, the one and a half minute part has to be like this' (laughs).

A: There are some players who always try to create cool parts.

F: That tends to be overplayed.

A: Since the birth of rock 'n' roll, songs have remained that length, right? Well, that's because they were originally made to be played on the radio, but I think that many of the songs that I would call the best songs are about that length. Of course, there are plenty of great long songs as well.

──It's pretty difficult to complete a song in 3 minutes. In your case, it's even more difficult because it's a superb pop song. Did you have any difficulties in making it so compact?

A: But that's what we're aiming for, that's our goal. I enjoy that kind of music too. If you're well versed in music, you'll understand, but even in songs that seem simple at first glance, you can discover interesting rhythms, right? It's the same with guitar. It's not just a simple phrase, you know (laughs).

──That's true. What is the Strokes' songwriting process like?

A: Julian will write it first.

F: Yes. We would work together in the studio to polish whatever he brought in. We would try out different things together and think about the arrangement.

A: There are five of us, so it takes time. There are many times when we say, 'Let's try this,' but it turns out to be a complete failure.

F: Arranging is about how to complete the song, how to present it, right? Julian writes the heart of the song, and we go from there.

A: But the one absolute requirement is that it's something that everyone likes. Otherwise it won't work as a song.

F: And before I even think about whether I like it or not, the base idea is Julian's original. I think that's great. And then we get to breathe life into it in the studio.

──What do you think you gained from the long tour for your first album? What you gained there must have led to improvements in your songwriting and performance skills.

A: From the beginning, we were successful right away. Then, we were faced with “things we have to do.” If we had to do it, then we had to do it. But for the new album, an 8-month tour would be enough. I don't want to do long tours anymore (laughs).

F: But when you play a song over and over and over again, you discover something new, or you see new possibilities for the song. I think we've all grown as musicians. I was talking to Albert about it, and we were rehearsing for Summer Sonic a while ago. At that time, things that used to be challenging for us didn't feel difficult at all. I think that's because we've gained experience.

A: And there are more difficult songs on the new album too (laughs).

F: Yeah (laughs). I feel like the vibe has been strengthened. By the way... I once saw an interview with a Japanese baseball player in Seattle. Who was it?

──Ichiro.

F: Yes, Ichiro. He said something really cool... The interviewer said to him, "You polish your glove every day like a sword, and treat your bat as something sacred." And he said, "If I were a chef, if I didn't take good care of my knives, they would rust. Then I wouldn't be able to cook." It's the same thing. After making this album, I think I've realized that I love my instrument. Especially when I get home every day, I hold the sticks and practice by myself. I think I understand the relationship between me and my instrument, and I think that's the way to become a good musician. I practice with a metronome, and I know what it means to play tight, and it's not a rough feeling like, "OK, let's give it a go." (laughs) I think it's more spiritual, and I think it's important to make music for yourself.

A: I think it's the same as learning a language. You study it, and then when you go out and try to use it, you'll be able to speak it properly. It's the same thing. When you go on stage, you'll be able to do it naturally without having to think about it.

F: Yes.

A: Well, of course (laughs).

F: I don't think you’ll end up thinking, 'Hey, how do I play the C chord?' (laughs)

── (laughs) By the way, Albert and Fab, you guys appeared on an MTV show hosted by Courtney Love, right? Was that because you were drunk?

F: (already laughing while listening to the question)

A: Well, it was 4:30 in the morning, and I was having drinks with Ryan (Adams) at a bar. Then Ryan said, 'Let's go to MTV, Courtney Love will be there,' and I was like, 'Sure thing.' But when we got there, it was like, 'Oh no...' (laughs). But Ryan was there, so it was pretty funny.

F: I feel this especially when Albert, me and the other members are together, but we have the illusion that 'we are the strongest!' (laughs). No, seriously. It's like no one can beat us, and being together with everyone makes us even stronger. For example, let's say you're walking down the street and you bump into someone. Normally you'd just say 'excuse me' and pass by, but when we're walking together as a group (laughs), you're like 'hey, watch it!' (laughs). When there's friendship there, it can make your life seem bigger than it actually is. That's what happens when you go to places like that. It's not that we're violent or anything, it's just that we're full of confidence.

A: It's interesting, isn't it? It's the same with music.

──Are you close with Courtney on a regular basis?

F: Courtney seems to like our music. She's a nice person.

──You've been going to some Kings of Leon shows recently. Do you like them?

A: They're a great band. Their live shows are great too.

F They're a band that won't disappoint. They're young, too. Two years ago we were really young, but when I look at them now I feel like we're like second-years. It's the same when I look at other bands, but I think, 'Oh, they're freshmen? That's nice.' I hope we can tour together.

──Apart from Kings of Leon, what other bands do you think are great these days?

A: I don't really know these days. I've been recording for a while, so I haven't been listening to anything at all. It's only when I have time off that I find bands that I like to listen to.

F: Once we start recording, we get so focused that we don't go out. And as soon as we step out of the studio, we're like, (covering our ears) 'Please, don't make me listen to your music!!' (laughs)

A: I discovered Kings of Leon when I had about a week off. I was in between studio work and had nothing to do for a week or two.

F: And since Kings of Leon is on the same label, they'll hand me stuff like, 'Listen to this' (pretending to hand it over secretly).

A: Adam Green's new album is also really good. His live performances are amazing, the best.

──You're also actively interacting with Ben Kweller in New York.

When we're together, we have the illusion that we're the strongest! (laughs) No one can beat me! When you have friendships, you make your life seem bigger than it actually is, but it's just that you're full of self-confidence (laughs).

F: Ben Kweller is great too!

A: This may seem surprising, but while it's true that we have made a lot of friends, we're all on tour, so we don't get a chance to see each other very often.

F: But on the other hand, being in a band means we get to meet the people we want to meet, so we're lucky.

A: Because it gives us something in common.

──Have any musical projects ever emerged from these frank connections?

F: That's not possible.

A: It's still a little early for that. It'll be a different story if we release about seven albums and become big. Right now we're still young and we need to focus on doing things ourselves first. Only then will we be able to do that.

──I heard that celebrities flocked to see the Strokes at last year's Coachella Festival. How do you feel about being perceived as a "cool band" like that?

F: We're actually pretty weak.

A: It has nothing to do with me. Don't get me involved (laughs).

F: I didn’t expect it (laughs).

A: If people want to see us and enjoy us, that's fine, but there's no need to give them any extra justification for it being cool or anything.

F: And celebrities just say "hi" in a sarcastic manner and that's it (laughs)

A: It feels like a different world. Everything is different. The lifestyle, everything.

F: I don't think they actually know much about us.

A: I guess it was just a coincidence that we just happened to pass each other. We took a photo together, smiled, and that was it.

F: Besides, it's so much more fun and satisfying to meet the enthusiastic fans who come to our shows than it is to meet celebrities. I'm so happy when I meet kids and they tell me, 'I love The Strokes' music, it really inspires me, it really touches my heart.' Compared to that, the reaction of celebrities is...

A: It was like, 'I've been in the industry longer than you!' (laughs)

F: That's right. (with a cocky pose) They said, 'I like your music' (laughs). Really, I was like, 'Oh, great, great, thank you for coming.'

A: Also, when we talk to kids, I think we can see clearly through them what we want to do and what we don't want to do. That's really exciting, and it makes me feel like I've become a bit of an older brother (laughs). That's why we have more fun when lots of kids come to our shows.

F: Better than a show filled with celebrities.

A: In the first place, isn’t that kind of weird?

F: Celebrities don't take the initiative. They're like, 'I'm famous, so everything just comes to me without me having to do anything' (laughs).

A: It’s like, 'Oh, so the concert was good? I see, I see, that’s good' (laughs).

F: So in other words, you want to say it’s ‘cool’ (laughs).

A: That's right! (laughs)

────

"The Strokes meet up with SUM 41 in Osaka"

Text: Masataka Oguchi

The real story! Behind the scenes of their visit to Japan

The Strokes' visit to Japan lasted for a week. At their request, they stayed at the Hotel Okura, which has a Japanese feel (many foreign musicians choose this hotel). Julian was a big fan of the opening video of "The Tale of the Heike" broadcast on BS2, and apparently even recorded it on video. Maybe it will be used in a future clip?

The title he came up with in that hotel was the first single, "12:51". This was reported as "Supernova" in last month's issue, but the moment he got involved, he was apparently overjoyed, saying, "Oh, if you fold this with a ":" in the center, it overlaps!" Only Julian knows the true meaning of that...

After meeting them, my impression is that the drummer Fab is the friendliest. He has a friendly personality that is typical of Italians, and he doesn't forget to casually hand over an ashtray. Julian seemed very sleepy during the interview, and half-seriously said, "I'm getting sleepy..." while speaking. Nick may have been the most cynical. The way he rolls his eyes is the cutest in the band.

At Summer Sonic Osaka, an unusual meeting between The Strokes, Stereophonics, Sum 41, and Good Charlotte took place at a hotel bar. Apparently, Julian invited the members of The Phonics and Sum 41 to come over and have a drink. Then Sum's friend Good Charlotte joined them. However, things didn't quite go well, and Fab and Julian ended up arguing.

After Summer Sonic, they went to Kamakura, which they had planned to do for a long time. Everyone was supposed to head out together, but in the end, only Nikolai (and his family) went. During the interview, Fab was excited and said, "I want to see Buddha!" Anyway, it must have been a nice break from recording here in Japan.

[thislovintime]

Photo by Ken Whitmore.

“Walking down the street one day [in NYC] — there’s a song there — and I got, I was, I was the recipient of intelligence. Now, I’m not gonna go into the hows and whys and wherefores, you know, it was totally mysterious but I was informed that I was to leave town. I just — ‘Get out of town.’ […] I was informed that I was to get out of town. I go, ‘Okay, I’ll take your word for it.’ And I just said, you know, just let me clear up a few things and then I will go to either L.A. or San Francisco, whichever provides where I can get transportation to and a place to stay in. Well, that turned out to be L.A. I got — these people said, ‘Well, we’re taking a ‘37 Chevy to L.A., you wanna come along?’ And I had a friend who had just moved out there and would put me up, so I said, ‘Sure, L.A., here I come.’ And I jumped in this ‘37 that blew a rod and started spewing smoke just this side of Las Vegas, we hitchhiked the rest of the way, and this was like… I landed in Orange County, California, just the end of June in ‘65, and by August ‘65 I was involved in the auditions for the Monkees.” - Peter Tork, GOLD 104.5 (1999) “[T]here were a number of events leading up to it that lead me to think that there was a certain kind of ordained quality to it all. I’m not a mystic, by any chance, but I’ve seen a lot of connections occur that standard, conventional Western logic isn’t large enough to take in. And I believe that this was pretty much set up somehow. It’s almost as if I had no choice. Things sort of occurred. For instance, Stephen Stills called me and said, ‘Go try out.’ And I said, ‘Yeah, yeah, yeah,’ and hung up and left and didn’t think about it. Well, he called again. Nobody’s ever called me with a suggestion like that twice. Not before, not since.” - Peter Tork, The News and Observer (September 13, 2004) “[T]hen I said [to Bob Rafelson], ‘Listen, I know another guy that’s a lot like me and he’s probably a little brighter, and he might be a little bit quicker and funnier.’ […] I called him [Peter] up. He said, ‘I’ll come down.’ And two days later, I found out that he had gotten the job and he called me to thank me. It was funny. I was amused that he took it because he was kind of a hipster.” - Stephen Stills on recommending Peter Tork for The Monkees, 1988 interview quoted in Canyon of Dreams: The Magic and Music of Laurel Canyon (2009)

[cloudfishh]

When your fandom so small you start reading actual fucking historical sources bc you crave more content 💔💔

[oacest]

-interview with Paolo Hewitt, 20th January 2015

[dummerjan]

you know what? this is going to be a good week, return of my terrible teacher or not thursday: new Juanes song friday: terrible teacher but also friday: new Jeff song

[bredforloyalty]

the last few years have been a nice detour* but i think it's time to get back to being cringe

*: not that i wasn't cringe recently just that i need to crank it up and lose followers also

[red-dyed-sarumane]

im glad that posting a single song lyric from whatever ur listening to as a means of expressing ur singing it happens across languages. my magu fan friend posted the akaki holy rain-! from red rose & i decided to join in & we ended up "singing" the intro to red rose on the tl tonight. its the little things

[ihophashbrowns]

I'LL NEVER LET IT GO [korean korean] IM A HOTSHOT, A HOTSHOT AND EVERYBODY KNOWSSSSS [korean korean] IM A HOTSHOT A HOTSHOT OH BABY IN THE NIGHT WHEN I CLOSE MY EYES [korean korean] I'LL NEVER LET IT GOOOOOO [korean] CANT STOP ME NOW IM A HOTSHOT A HOTSHOT

[indigo6f00ff]

ok i finally got around to listening to the Catch 22 version of Keasbey Nights and it's . it is better.

[allsteddie]

Actor!Steve and Singer!Eddie AU where they have some sort of rivalry going on. But, here’s the thing, the whole thing is made up by the press.

It starts when a reporter, during an interview, asks Steve what kind of music he listens to in his free time. Steve names a few artists, mostly pop with a few classic rock bands in between, which leads the reporter to ask if he’s a Corroded Coffin fan. They’re not classic rock, but they sure as hell are popular, but Steve just looks at the reporter and says, “never heard of them in my life.”

And he honestly hasn’t! But the press gets this out of context and of course Corroded Coffin fans are pretty pissed off, offended that someone as famous as actor Steve Harrington, king of period drama shows and romcom movies, is belittling their beloved band like that.

Another reporter, then, after a concert, asks Eddie what he thinks about Steve Harrington’s last interview, where he basically says Corroded Coffin’s music is shit, and Eddie just says, “I have no idea who you’re talking about.”

And he also hasn’t! Because they have been on tour for months, then they were working on new songs, and it’s been at least five fucking years since Eddie had enough spare time to watch a show. He’s also no fan of romcoms or period dramas, so even if he had had the time, there was no way he’d have watched anything Steve was in.

That’s enough for the press to go wild with stories about disagreements that never really happened and thousands, maybe millions, of people on the internet discussing Steve and Eddie’s rivalry and distaste for each other.

Neither Steve nor Eddie tries to explain the whole misunderstanding because, really, they both think it’s so funny how so many people are buying all this crap. Tabloids talk so often about their ‘rivalry’ that Steve does end up listening to Corroded Coffin and enjoys them a lot; he adds lots of their songs to his playlists. And Eddie finally caves and starts watching one of Steve’s period drama shows; he gets pretty addicted to them, and Steve is hot as hell, so that’s kind of a bonus.

One day, a couple of months after this started, Steve is scrolling his feed and sees a post on a gossip page about someone who said they heard someone telling some other person that they heard Eddie Munson threatening to beat Steve Harrington up if the actor didn’t stop saying shit about his music. The post is so obviously lying that Steve spends a good five minutes laughing. Then, on a whim, he DMs it to Eddie’s official page, with a message attached saying “Just please don’t beat up my face, I need it for work”.

Ten minutes later Eddie replies by sending a second post, this one also from a gossip page that claims their sources might have overheard Steve Harrington saying to his friends that Eddie Munson’s hair is the worst thing he’s ever laid eyes on, followed by a message saying “Sorry, but nobody says shit about my hair. It's hard work making these curls look so good.”

That’s how Eddie and Steve start talking, first just sending each other posts and articles they find funny about their made up rivalry. Somehow, this evolves into an actual conversation about other stuff, like their works, their lives, themselves.

They never really stop messaging each other, their weird work hours and busy schedules preventing them from actually meeting, even though they are dying to.

Then, four months into their unexpected friendship, Steve is in New York shooting a new romcom and Corroded Coffin is expected to play on a charity event there as well. And that’s how Steve and Eddie finally meet; at 1 a.m., on a Thursday, just after Steve wraps up shooting his new movie and Eddie finishes rehearsing for the concert he’s playing the next day. They go out for pizza, even though is freezing outside and they’re both tired as fuck.

The press and their fans are in shock when, a couple of months later, their official accounts announce, on a joint post, that Steve Harrington and Eddie Munson are happily dating and planning on going on an extended vacation together as soon as Corroded Coffin wraps up their tour. The couple also asks for people to respect their privacy and states that they don’t intend to give any interviews to discuss their relationship.

They spend the whole vacation laughing over the hundreds of posts and reaction videos their friends send them daily.

[carnalcrows]

The one with the Scandal

pariring: rockstar! male OC x male reader [profile]

summary: You’re not dating him. You don’t even like him like that. He’s younger. He’s your job. He’s also apparently into fixing your collar, looking at you like you’re his, and letting the entire fanbase run with it. You’re just trying to not get fired. He’s making it really hard.

content warnings: 18+, idol/manager dynamic, bottom male reader, Jiho is younger but he is in control, reader is spiraling professionally but holding it together (barely), scandal via leaked video, yandere tendencies if you squint, oral (reader receiving), Jiho calls the reader Hyung, someone is watching. also: subtle HR violations and bad decisions made in very quiet hallways.

word count: 3.1k

White Eclipse’s manager's job description didn’t include “babysit rockstars,” but here you were at 6:47 a.m., standing outside the dorm in socks, trying to get a key card to work while someone inside was blasting what could only be described as sad trap piano.

You didn’t bother knocking. They never heard it anyway.

The door opened a beat later—Jiho, hoodie half-on, eyes still sleepy, holding a toothbrush like it was a weapon.

“Oh,” he said, voice rough. “Thought you were food.”

You blinked. “It’s me.”

He nodded. “Right.”

Then he just… stepped aside to let you in.

No apology. No explanation.

You used to be surprised by things like that. Not anymore. It’d been seven months since you took over as White Eclipse’s full-time manager. Seven months of group chats at 2 a.m., misplaced earrings, broken in-rooms, passive-aggressive silence in makeup chairs. You were barely keeping the group running. You didn’t have energy left for things like normal boundaries.

Jiho wandered back down the hall. You followed, because your job required it. Not to hover, just to check the morning schedule—radio taping, press call, one-on-one interview for Juhwan. Makeup in twenty.

“You slept?” you asked, mostly to check.

Jiho shrugged. “Eventually.”

“Eat something before we go.”

He didn’t answer, which usually meant no.

You sighed, already noting it down in the log.

⋆｡°✩  

The van ride was quiet, except for Doyun humming aggressively off-key to a song no one else liked. You were seated up front, checking your tablet, trying to remember if anyone had confirmed Jiho’s brand outfit for the shoot. You didn’t hear him move until he leaned forward between the seats.

“Hyung,” he said. His breath ghosted the side of your neck, too close.

You didn’t flinch, but your fingers stilled.

“Yes?”

“You left your charger last time.”

He held it out—your USB-C cable, neatly wrapped.

You blinked. “You… kept it?”

He gave a half-shrug. “Figured you’d come back for it eventually.”

Then sat back like nothing happened.

You turned toward the window. The city rolled by in silence. You didn’t say thank you.

You weren’t sure you wanted to know what else he was keeping track of.

⋆｡°✩  

The radio taping was delayed by forty minutes. Not that anyone told you until you were already standing in the green room, watching the stylist re-iron Taeyang’s shirt while Juhwan paced like he was on trial.

You were half-listening to a PD explain the new segment structure when Jiho appeared beside you again—like he always did, like gravity.

He didn’t say anything. Just handed you a bottle of water.

You took it automatically.

A few seconds passed before you glanced over.

“…This isn’t mine,” you said.

“It’s cold,” he replied. “You like it that way.”

You blinked, unsure how to respond to that.

He didn’t stick around for a reaction—just walked back to the couch and sat, legs crossed, earbuds in, expression unreadable as ever. Like it was nothing. Like he hadn’t just said something small and specific enough to stick in your brain like a splinter.

You told yourself it was normal. He probably remembered from a post-schedule snack run. He was observant. That was all.

It didn’t mean anything.

But when the boys were being ushered into the booth, he lingered again.

Waited until the others were out of earshot.

Then said, “You looked tired yesterday.”

Your hand paused on the equipment list.

“…That’s not part of your job description.”

Jiho gave a half-smile. Small. Secret.

“Neither’s remembering your charger.”

You didn’t smile back.

You wanted to.

You didn’t.

⋆｡°✩  

That night, you stayed at the company building longer than you meant to. Not unusual—schedules had to be reshuffled, the stylists were panicking about a delivery delay, and someone had somehow misplaced two of Doyun’s in-ear backups despite the fact that you’d personally labelled them in obnoxiously bold font last week.

By the time you packed your bag, the halls were half-dark and the lights in the vocal practice room were still on.

You almost didn’t look.

You almost walked straight past.

But you didn’t.

Jiho was there. Again.

Seated on the floor, guitar in his lap, hoodie sleeves pushed up. His face was lit only by the screen of his phone, and he looked so relaxed—so out of uniform—that it threw you off for a second.

He didn’t see you right away. But the second you stepped into the room; his fingers stilled on the frets.

He looked up. And didn’t look away.

“…You live here now?” you asked dryly, trying not to let your voice give anything away.

“Only if you do,” he said, which wasn’t funny, but it made your mouth twitch anyway.

You sat on the bench near the wall, just to rest for a minute. Just to breathe.

Jiho shifted slightly, setting his guitar down.

“They let you have solo schedules today?” he asked.

You shook your head. “Temporary probation.”

He hummed. “For what?”

You gave him a look. “You really want me to spell it out?”

“I want to know what they think happened.”

His tone wasn’t teasing. It wasn’t particularly curious, either. Just steady. Like he was testing something.

You didn’t answer.

He stood slowly and crossed the room, not close, not quite, but just enough that the air changed.

“I know what I felt Hyung,” he said.

Your jaw tightened. “You can’t say stuff like that.”

“Why not?”

“Because I’m your manager.”

He smiled, the kind that didn’t reach his eyes.

“Not lately.”

That sat in the space between you, heavy and uncomfortable and true.

You stood up, suddenly. Bag over your shoulder. Shoes already pointed toward the door.

Jiho didn’t stop you. Didn’t move. Just said, quiet and sure,

“Then what are you still doing here?”

⋆｡°✩  

You’re already at the studio before the sun finishes rising, two iced Americanos in hand, and neither of them are for you.

The schedule’s stacked—two back-to-back interviews, followed by a commercial shoot, and then a fitting for a brand collab you only got confirmation for at midnight. You don’t even realise you’ve been typing out emails with your neck tilted and your jaw clenched until someone passes behind you and mutters, “Hyung, you’re gonna shatter your teeth.”

It’s Doyun.

You don’t respond. Just hand him one of the coffees and tell him to finish it before makeup.

Jiho’s the last one out of the van when you arrive at the venue. Hoodie up, expression blank, one earbud in. He doesn’t speak until the others have wandered off in different directions. You’re halfway to the front doors, double-checking a logistics note, when he suddenly says behind you, “You forgot your charger... again.”

You stop walking.

“I didn’t.”

He holds it up anyway. Neatly wrapped. Slightly warm, like he kept it in his pocket.

“Don’t leave your stuff around if you don’t want me touching it,” he adds.

It’s not flirtatious. Not playful.

Just a little… too direct.

You take it from him without meeting his eyes.

By the time the day wraps, you’ve been on your feet for nearly eleven hours, you’re starving, and you’ve answered the same three questions from the same sponsor rep three separate times.

You’re in the back hallway finishing a call when the door beside you creaks open.

Jiho again.

Of course.

He doesn’t say anything. Just leans against the wall next to you, close enough that your shoulders almost touch.

“Is there a reason you’ve been following me around like a ghost today?” you ask, keeping your voice flat.

“Maybe.”

You roll your eyes. “You’re not subtle.”

“I’m not trying to be.”

There’s a beat of silence between you.

“You know they’re already watching,” you say quietly. “Even if nothing happens.”

He shrugs. “Then let them.”

You stare straight ahead. If you look at him now, you might say something you can’t take back.

He leaves without another word.

⋆｡°✩  

It starts the next morning, before you’re even fully awake.

Your phone lights up with a buzz sharp enough to break through sleep, and the notification preview makes your blood run cold.

You don’t open it at first.

You already know what it is.

You sit up in bed, screen half-lit, and there it is:

A video.

Low-res, muted, zoomed in from somewhere behind the practice room window.

You, standing in front of Jiho.

Him, fixing your collar like he’s done it a hundred times before.

You, frozen.

Him, looking at you like no one else exists.

WHO is that? he looks like STAFF??? That’s the manager hyung. I’ve seen him in airport vids. They’re so domestic, what the hell 😭😭 The way he looks at him, oh my god, he’s SO GONE idc if it’s fake, this is the best ship in K-pop rn

It’s only ten seconds.

But that’s all it takes.

You can’t breathe.

The DMs are already coming in. Three calls from PR. One from someone in legal. Your group chat with the other managers is blowing up, and your name is already trending.

You close the app.

Open your notes app.

Start typing an apology that no one’s asked for yet.

Jiho.

Then you stop.

Because your phone buzzes again.

A single text.

[ come up to the roof.]

You stare at it.

Ignore it.

Then, against your better judgment, you go.

⋆｡°✩  

The rooftop is quieter than you remember.

It’s probably not even technically accessible—some intern left the door propped open during a late-night smoke break once, and now everyone pretends it’s still locked. You used to come up here alone. That was before. Before the video. Before the call from PR. Before your name started appearing in the trending bar.

Now Jiho’s already here, hoodie sleeves bunched up to his elbows, fingers curled around a can of grape soda that’s starting to sweat through the aluminium. He looks like he hasn’t moved in an hour. Like this isn’t the first time he’s sat here, waiting for you.

You shut the door behind you.

He doesn’t turn to look at you immediately. Just nods toward the railing beside him.

You don’t sit.

“You saw it?” you ask.

He hums in response. You’re not sure if that’s a yes or a who hasn’t?

“You’re not panicking.”

He finally turns. There’s no smile. No bite. Just his usual unreadable calm.

“Should I be?”

You almost laugh, sharp and humourless. “This isn’t a joke.”

“I know.”

He tosses the soda can into the nearby bin without looking. Deadcentrer.

You cross your arms. “They’re going to kill this. Quietly. I’m already off the schedule for next week.”

“I noticed.”

You expect a flicker of regret. Frustration. Some trace of guilt.

You get none.

Instead, Jiho steps closer—not aggressive, just deliberate. There’s no camera up here. No PR team. No lighting cues or stylists, or handlers. Just him. Just you.

“They think we’re together,” he says, voice low.

You don’t answer.

“Maybe we should be.”

You look away. “Don’t do this.”

“Do what, Hyung?”

“Say things you can’t take back.”

He’s close enough now that you can feel the warmth from his body—his chest rising slowly, steadily. He doesn’t try to touch you. That would be too easy. Too obvious. Instead, he just stands there like gravity, like inevitability.

“I’ve been waiting for something to break,” he says, quieter now. “I just didn’t think it’d be a ten-second clip.”

You inhale through your nose. Try to stay steady.

“I’m older than you,” you say.

“So?”

“I’m your manager.”

He leans in—not touching, not yet.

“Not today.”

The silence between you hangs, taut and electric.

Then you walk away.

You don’t run.

But you don’t look back.

⋆｡°✩  

You don’t answer his messages after that.

Not because you don’t want to. You just don’t trust yourself to say something that won’t get screenshotted and sent to HR. You spend the rest of the day buried in logistics—flipping through updated schedules, emailing photographers, pretending your phone isn’t buzzing every hour with a new article, a new fan edit, a new speculative thread. You don’t see Jiho for the rest of the day, and you let yourself believe maybe that rooftop conversation didn’t mean anything.

Then he shows up at your apartment.

It’s late—past midnight. You’re wearing an old shirt and mismatched socks, half-asleep, when the intercom buzzes. You think it’s a food delivery at first. You didn’t order anything. But when you answer, all you hear is—

“Hyung— It’s me.”

You don’t open the door right away. You hesitate. Long enough to consider what this will mean if you do.

But when you finally unlock it, he’s standing there. Hoodie off. Cap gone. Just Jiho—his real face, glasses slightly fogged from the night air. He looks calm. Like he’s been here before.

You don’t ask him why he came. You don’t need to.

He steps inside like he’s done it before, like this is normal— hoodie slung over one shoulder, hair pushed back messily from his face. He looks like he belongs here, even though you’ve never invited him in, not really. You tell yourself you’re only letting this happen because you’re exhausted. Because there’s no one else around. Because you’ve already been dragged into the narrative, so what’s one more mistake?

But you know better.

You always have.

You lock the door behind him and turn to find him watching you like he’s memorising something.

“You always leave it open when you’re nervous,” he says.

You blink. “What?”

“The collar. You don’t button the top one. You fidget with it when you’re trying not to look at me.”

You don’t say anything. There’s nothing to say.

Jiho walks past you—through the short hallway, into the living room, casual like he’s heading for the kitchen. He doesn’t. He stops at the edge of the couch and looks back.

“You gonna keep pretending?”

You cross your arms defensively. “Pretending what?”

“That you don’t want me to stay.”

That lands harder than you expect. Not because he’s wrong. But because you’ve been trying so hard to keep that exact thing from showing on your face for weeks.

And maybe you haven’t been as successful as you thought.

When you don’t answer, he turns fully. Walks up to you slowly, deliberately, until the heat from his body reaches your chest and you have nowhere else to go.

He touches the collar of your shirt. Just the fabric. No skin. Yet.

“You should stop wearing this,” he murmurs.

“Why?”

“Because I want to take it off.”

Your breath catches. He hears it. You know he does.

Then, carefully, he undoes the top button. Then the next. You don’t stop him.

“You’re shaking,” he says softly.

You didn’t even realize.

“I—Jiho, this is—”

“Too late.”

He steps forward. Presses his mouth to yours—once, slow and sure. He doesn’t rush it. Doesn’t push. But there’s heat behind it. Control. Like he’s waited long enough, and he’s not going to let you talk your way out of it now.

You kiss him back.

⋆｡°✩  

He leads you to the bedroom without speaking, only touching you where he needs to—your wrist, your hip, the small of your back. You sit on the edge of the bed, and he kneels without hesitation, hands sliding up your thighs, eyes locked on yours.

“You don’t have to say anything,” he tells you. “But you don’t get to lie to me either.”

You nod.

That’s all he needs.

Jiho peels your pants down with practised fingers, pushing them past your hips, then your briefs. You’re already half-hard, pulse thudding like your body’s already a step ahead of your thoughts.

He leans in. Licks a slow stripe up the underside of your cock.

Your hands twitch at your sides. You don’t touch him. Not yet.

He doesn’t look up when he takes you into his mouth. Just sinks down, slow and steady, jaw relaxed like he’s done this a dozen times—maybe not for anyone else, but in his head, you’re sure he’s thought about it. Over and over.

His tongue presses firmly along the base. His lips seal around you, and he moans—soft, like it’s for him, not you. The vibration makes your knees buckle.

He takes his time. Pulls off to suck at the head, just enough to make you gasp. Then down again—deeper, sloppier now, until your cock hits the back of his throat and he still doesn’t stop.

You manage his name. Once. Barely.

His hands grip your thighs, firm and steady, keeping you in place. He sucks you down again and again, never breaking eye contact, never faltering. He wants you to watch. To know exactly how far he’s willing to go.

When you start to lose control—hips stuttering, breath slipping—he only tightens his hold and hums around you again. That pushes you over.

You come with a choked breath, your hand in his hair, every nerve lit up. He doesn’t pull back. Doesn’t spill a drop.

When it’s done, when your heart’s still racing and your fingers are trembling, he wipes his mouth with the back of his hand like it’s nothing.

Then he leans in again, not to kiss you, but just to speak.

Voice low. Calm. Possessive.

“Next time,” he murmurs, “you’re going to beg for it.”

⋆｡°✩  

You wake up before your alarm.

The light in your bedroom is pale, soft, barely filtered through your blinds. The air is cool against your skin, your sheets kicked halfway off the bed, your body still aching in that strange, satisfying way. Not sore. Just… used. Thoroughly.

Jiho is still asleep beside you.

His hand is curled against the pillow, palm up, fingers relaxed like he has nothing left to chase. His mouth is parted slightly. His hair’s a mess. One leg is tangled with yours beneath the blanket.

You lie there for a moment, still and quiet.

You don’t know what time he fell asleep. You don’t know if he meant to stay. You don’t even know if he thinks this was a one-time thing or the start of something. You should care.

You do care.

You just don’t know what to do with it yet.

Eventually, you get up. Carefully. Quietly.

You don’t leave the room, just stand near the doorway, shirt half-on, trying to figure out what you’re supposed to feel. It doesn’t feel like a victory. Or relief. It just feels inevitable.

You reach for your phone out of habit. You’ve got two unread messages.

One from your replacement manager, asking if you’re available for a rescheduled meeting later in the week.

And one from an unknown number.

[hope you enjoyed last night. This is just the beginning.]

No context. No name. But your stomach drops anyway.

You read it again.

And again.

Behind you, Jiho shifts in the sheets.

You don’t turn around.

Not yet.

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